Public Reel

Bird of Paradise (1932)

No renewal found Free in the US since 1 January 1961, on the registry's reading: registration LP3215 of 1932 by RKO Radio Pictures, Inc was not renewed in the volumes searched. Record.

Image from Bird of Paradise
Copy
Bird_of_Paradise_1932 on the Internet Archive; released 1932
Read
196 shots over 1:20:32 · 144 beats in 83 sequences · 458 transcript lines · JSON
Record
Bird of Paradise No renewal found
Picture
Wikimedia Commons, public domain
Wrong?
Report a problem
Lands on the beat covering that second.
83 sequences; each is also a heading below.
Check before citing the shot count. A 6:07 shot at 1:02:39 (shot 183): either a static hold or a run of missed cuts. Treat it as unverified.
How this page was made

196 shots over 1:20:32, read from the Internet Archive copy Bird_of_Paradise_1932 (BirdofParadise.mp4, 308×240, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Bird of Paradise No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 196 shots judged colour), average shot 24.7s long, a frontal face detected in 18% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1932 (Internet Archive).

144 beats in 83 sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model. 144 of 144 beats annotated, 143 passed the checks, 1 flagged.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Sequence 2 from 0:13

Frame at 0:31, shot 10:31Frame at 0:52, shot 20:52Frame at 0:58, shot 30:58
3 of 3 shots sampled

2. Ship

0:13–1:00 Machine checks passed

Model synopsis: Two men in uniform stand on a ship's deck near the sea; a third man in light clothing stands on deck with mountains visible behind him. The transcript includes shouted numbers and a comment about a shallow spot between bridges.

3 people observed.

“Five and a half thousand! Five and a half thousand! Five and a half!” 0:30 · “That smooth spot's between the two lines of bridges. Yeah, I see it. Four and a half getting shallow fast!” 0:52

Evidence, details and a link to share

Frame at 1:01, shot 41:01Frame at 1:05, shot 51:05Frame at 1:16, shot 61:16
3 of 3 shots sampled

3. Ship

1:00–1:24 Machine checks passed (partial)

Model synopsis: A man climbs rigging on a ship while others on deck discuss depth measurements and ship clearance. One person jokes about forgetting a water wing and addresses St. Peter.

  • A man climbs the ship's rigging. [frame:1]
  • Two men in uniform stand on deck, one speaking. [frame:2]
  • Three men sit on deck, one wearing sunglasses. [frame:3]

5 people observed.

“Four and a half, King Shalhoub! Four and a half! And a half! Judge, there's three fathoms in the battle. Hey, Tinker, he's that main chie…” 1:00 · “Oh, my God.” 1:10

Evidence, details and a link to share

Frame at 1:28, shot 71:28Frame at 1:32, shot 81:32Frame at 1:39, shot 91:39
3 of 3 shots sampled

4. Ship

1:24–1:44 Machine checks passed (partial)

Model synopsis: Two men in uniform are on a ship's deck; one is at the wheel. A sailboat is shown on the water. The transcript includes urgent dialogue about navigating a passage and a warning to someone named Johnny.

  • Two men in uniform stand on a ship's deck; one is at the wheel. [frame:1]
  • Two men stand on the deck of a sailboat, one holding a rope. [frame:2]
  • A sailboat is shown sailing on the water. [frame:3]

Named: Johnny (t:1:25). 5 people observed.

“Three and a half. God, shipper, how old's that shot? On by everybody. We're going through the passage. Find that jet sheet. Right there's a …” 1:25

Evidence, details and a link to share

Sequence 3 from 1:44

Frame at 1:46, shot 101:46
1 of 1 shots sampled

5. Other

1:44–1:47 Machine checks passed

Model synopsis: A dark, indistinct landscape is shown with a bright horizon line. No people, objects, or text are visible in the single frame provided.

Evidence, details and a link to share

Sequence 4 from 1:47

Frame at 1:58, shot 111:58
1 of 1 shots sampled

6. Ship

1:47–2:10 Machine checks passed

Model synopsis: Two men in uniform stand on a ship's bridge; one speaks about completing a journey and handing over the wheel. The other responds affirmatively and urges action.

  • Two men in uniform stand on a ship's bridge, one at the wheel. [frame:1]

2 people observed.

“We made it. We're over. Great work, sir. I bet we didn't have an engine to spare. You bet not. Take the wheel, will you? Yes, sir.” 1:52 · “Come on.” 2:04

Evidence, details and a link to share

Sequence 5 from 2:10

Frame at 2:18, shot 122:18Frame at 2:29, shot 132:29
2 of 2 shots sampled

7. Vehicle interior

2:10–2:32 Machine checks passed (partial)

Model synopsis: Men are on a boat, one holding a tray with drinks; dialogue mentions yachting and boat discomfort. No named individuals appear, and the setting is a vessel at sea.

  • Men are on a boat; one holds a tray with drinks. [frame:1]

4 people observed.

“Five and a half and getting deeper. Take some, kids. We're in.” 2:12 · “- Mainer, Blaine? - Yep. Yeah. After this, I'll do all my yachting in the store. Oh, you're always crabby. That was the quart. Yeah, well, y…” 2:17

Evidence, details and a link to share

Frame at 2:52, shot 142:52Frame at 3:23, shot 153:23Frame at 3:41, shot 163:41
3 of 3 shots sampled

8. Beach

2:32–3:48 Machine checks passed

Model synopsis: People are on a beach and in small boats near a sailboat; one person calls out to others while another says they are leaving. A man in a white shirt and hat speaks to others on a boat, with dialogue about being a 'cannibal' and 'mule'.

Named: Sandy (t:3:13), Audrey (t:3:13). 4 people observed.

“Mailers, come and get it. Now, now, now, now, women and children first.” 2:33 · “I'm out of here!” 3:10

Evidence, details and a link to share

Frame at 3:50, shot 173:50
1 of 1 shots sampled

9. Ship

3:48–3:51 Machine checks passed

Model synopsis: Two shirtless men stand on a vessel with masts and rigging visible; one holds a pole. The scene is shot from behind, showing their backs against a bright sky.

2 people observed.

Evidence, details and a link to share

Sequence 6 from 3:51

Frame at 3:57, shot 183:57
1 of 1 shots sampled

10. Vehicle interior

3:51–4:03 Machine checks passed (partial)

Model synopsis: A man in light clothing is visible on a vessel with others; a voice asks what is wrong with the place and suggests it might be a Virgin Island. No named individuals appear, and the setting is not clearly identifiable beyond being on a vessel.

  • A man in light clothing is visible on a vessel with others. [frame:1]

3 people observed.

“What's wrong this place? Probably one of the Virgin Islands. Heaven forbid. Hey, hey, hey. Come on. Come on. Come and get me. Why is …” 3:52

Evidence, details and a link to share

Sequence 7 from 4:03

Frame at 4:13, shot 194:13
1 of 1 shots sampled

11. Water

4:03–4:22 Machine checks passed (partial)

Model synopsis: Two men are seated in a small boat on water; one in a captain's uniform speaks to the other in a white shirt. In the background, other people are visible in canoes on the water.

  • Two men are seated facing each other in a small boat on water. [frame:1]

2 people observed.

“Johnny, here's the charm of the South Sea.” 4:04 · “and out of nowhere you stumble onto one of these little islands.” 4:08

Evidence, details and a link to share

Sequence 8 from 4:22

Frame at 4:24, shot 204:24
1 of 1 shots sampled

12. Other

4:22–4:26 Machine checks passed

Model synopsis: A person is visible in a dark, watery environment. No spoken dialogue or identifiable location is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 9 from 4:26

Frame at 4:30, shot 214:30Frame at 4:35, shot 224:35Frame at 4:48, shot 234:48
3 of 3 shots sampled

13. Ship

4:26–4:59 Machine checks passed (partial)

Model synopsis: Two men in sailor uniforms are on a boat, one speaking to the other; in the background, other small boats with people are visible on water. The dialogue includes an offer of 'heart's blood' and a question about plans for the evening.

  • Two men in sailor uniforms sit on a boat, one facing the other. [frame:1]
  • The man in the dark uniform gestures toward the water while speaking. [frame:2]
  • Several small boats with people are visible on the water near the larger vessel. [frame:3]

3 people observed.

“Hello, baby. Is that anything on for tonight? Yes, sir.” 4:26 · “I'll give you my heart's blood.” 4:30

Evidence, details and a link to share

Frame at 5:00, shot 245:00Frame at 5:03, shot 255:03
2 of 2 shots sampled

14. Dock or boat near water

4:59–5:05 Machine checks passed

Model synopsis: A group of men paddle canoes on water while another group, including a woman in a light dress, stands on a dock or boat. One man in the dock group gestures toward the water as someone speaks about it.

  • Men paddle canoes on water. [frame:1]
  • A group stands on a dock or boat; one man gestures toward the water. [frame:2]

7 people observed.

“Hey, this water.” 5:00

Evidence, details and a link to share

Frame at 5:08, shot 265:08
1 of 1 shots sampled

15. Water

5:05–5:12 Machine checks passed

Model synopsis: A group of shirtless men paddle canoes on water. The scene is shot in black and white with multiple canoes visible in the frame.

1 person observed.

Evidence, details and a link to share

Frame at 5:23, shot 275:23Frame at 5:35, shot 285:35
2 of 2 shots sampled

16. Ship

5:12–5:36 Machine checks passed (partial)

Model synopsis: A person dives from a boat into water while others watch from nearby boats. Onboard a vessel, a group of people in light clothing appear to be reacting to an event, with one person holding a camera.

  • A person dives into the water from a boat. [frame:1]
  • People on a boat react, one holding a camera. [frame:2]

2 people observed.

“Oh, my God.” 5:30

Evidence, details and a link to share

Sequence 10 from 5:36

Frame at 5:47, shot 295:47
1 of 1 shots sampled

17. Underwater

5:36–5:59 Machine checks passed (partial)

Model synopsis: A person is seen underwater in a single frame, moving through murky water. No dialogue, objects, or identifiable location are visible.

  • A person is swimming or floating underwater. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 6:01, shot 306:01Frame at 6:08, shot 316:08Frame at 6:20, shot 326:20
3 of 3 shots sampled

18. Ship

5:59–6:27 Machine checks passed (partial)

Model synopsis: A man in a cap is confronted by others on a ship's deck; he is told to throw items overboard while another man calls out to Jeremy about a grill. The scene involves physical interaction and dialogue about discarding objects.

  • A man in a cap is seen smiling while being addressed. [frame:3]

Named: Jeremy (t:6:15). 4 people observed.

“I want you boys to get rid of these things for a long time.” 5:59 · “Hey, wait a minute. What are you doing, Mr. Kutley? Come here, you. There, throw those things. Now, all right. Oh, the bad thing. Oh, …” 6:03

Evidence, details and a link to share

Sequence 11 from 6:27

Frame at 6:35, shot 336:35
1 of 1 shots sampled

19. Open water

6:27–6:43 Machine checks passed

Model synopsis: A person is visible swimming in open water. No dialogue, on-screen text, or identifiable objects are present in the single frame.

  • A person swims in choppy water. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 12 from 6:43

Sequence 13 from 6:57

Frame at 6:58, shot 356:58
1 of 1 shots sampled

21. Open water

6:57–6:59 Machine checks passed

Model synopsis: A person in white stands on a boat deck facing two canoes with rowers on open water. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Frame at 7:00, shot 367:00
1 of 1 shots sampled

22. Water

6:59–7:01 Machine checks passed (partial)

Model synopsis: Two figures are in a small boat on water, one paddling with a long pole. The scene is shot in black and white with no visible text or spoken dialogue.

  • Two figures are in a small boat on water; one is paddling with a long pole. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 14 from 7:01

Frame at 7:02, shot 377:02
1 of 1 shots sampled

23. Other

7:01–7:03 Machine checks passed

Model synopsis: A single frame shows a dark, elongated shape resembling a shark against a light background. No people, dialogue, or identifiable location are visible in this beat.

Evidence, details and a link to share

Sequence 15 from 7:03

Frame at 7:07, shot 387:07
1 of 1 shots sampled

24. Ship

7:03–7:12 Machine checks passed (partial)

Model synopsis: A man in white stands on a ship's deck with arms raised while another man in dark clothing stands nearby; a small boat with figures is visible on the water. No dialogue or on-screen text is present in this beat.

  • A man in white raises both arms while standing on a ship's deck. [frame:1]
  • A man in dark clothing stands near the railing of the ship. [frame:1]
  • A small boat with figures is visible on the water near the ship. [frame:1]

3 people observed.

Evidence, details and a link to share

Frame at 7:15, shot 397:15Frame at 7:20, shot 407:20Frame at 7:25, shot 417:25Frame at 7:39, shot 427:39
4 of 4 shots sampled

25. Ocean

7:12–7:51 Machine checks passed (partial)

Model synopsis: A person is seen struggling in the water and then climbing onto a rope or ladder. Two lines of dialogue urge someone not to act and to get inside quickly.

  • A person is seen struggling in the water. [frame:1]
  • A person is seen swimming or being pulled through the water. [frame:2]
  • A person is seen climbing a rope or ladder, viewed from below. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Hey, don't do that.” 7:17 · “Get in there, quick!” 7:41

Evidence, details and a link to share

Frame at 7:53, shot 437:53
1 of 1 shots sampled

26. Other

7:51–7:55 Machine checks passed

Model synopsis: A single blurry frame shows a dark, indistinct figure against a bright background. No dialogue, text, or clear context is visible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 16 from 7:55

Frame at 7:59, shot 447:59
1 of 1 shots sampled

27. Ocean

7:55–8:03 Machine checks passed

Model synopsis: Two people are swimming in open water. No dialogue or on-screen text is present in this beat.

  • Two people swim in choppy water. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 8:06, shot 458:06
1 of 1 shots sampled

28. Beach

8:03–8:09 Machine checks passed (partial)

Model synopsis: Four people swim in open water near a dock or pier. No dialogue or on-screen text is present in this beat.

  • Four people swim in water near a dock. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 17 from 8:09

Frame at 8:11, shot 468:11
1 of 1 shots sampled

29. Ocean

8:09–8:13 Machine checks passed (partial)

Model synopsis: A splash erupts in the ocean near a boat. No people are visible or audible, and no dialogue is present.

  • A large splash occurs in the water near a boat. [frame:1]

Evidence, details and a link to share

Frame at 8:14, shot 478:14
1 of 1 shots sampled

30. Water

8:13–8:16 Machine checks passed (partial)

Model synopsis: A person is swimming in turbulent water near a large white object, possibly a boat hull. No dialogue or on-screen text is present in this beat.

  • A person swims near a large white object in churning water. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 8:17, shot 488:17
1 of 1 shots sampled

31. Other

8:16–8:18 Machine checks passed (partial)

Model synopsis: A person is partially submerged in turbulent water. No dialogue or on-screen text is present in this beat.

  • A person is seen in turbulent water. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 18 from 8:18

Frame at 8:38, shot 498:38
1 of 1 shots sampled

32. Vehicle interior

8:18–8:59 Machine checks passed (partial)

Model synopsis: A person lies on a surface while others gather around, discussing an incident involving a shark and a rope. One person is prompted to continue speaking, and another is listening.

  • A person lies on a surface while others gather around them. [frame:1]

4 people observed.

“When the shark took the bait, your foot got caught in the rope and over you went. - How'd they get out of it? - The line parted between you…” 8:31 · “Which one?” 8:42

Evidence, details and a link to share

Sequence 19 from 8:59

Frame at 9:03, shot 509:03
1 of 1 shots sampled

33. Beat 33

8:59–9:06 Machine checks passed

Model synopsis: A woman with dark curly hair is visible in a close-up shot. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 20 from 9:06

Sequence 21 from 9:59

Sequence 22 from 10:07

Frame at 11:07, shot 5311:07
1 of 1 shots sampled

36. Other

10:07–12:08 Machine checks passed

Model synopsis: A group of men, including one in a sailor's cap, are seated together eating and conversing. They discuss local customs involving a volcano and sample food, including octopus, while joking about their surroundings.

  • Three men are seated together eating, one in a sailor's cap. [frame:1]

3 people observed.

“Not bad, eh? Perfect. I'm drunk again. Oh, I was just tired, I know. He must be the big medicine around here, eh? He sure is. That's the guy…” 10:09 · “- Those are the fish? - No, sir. They have to be young and beautiful to please the volcano.” 10:26

Evidence, details and a link to share

Sequence 23 from 12:08

Frame at 12:48, shot 5412:48
1 of 1 shots sampled

37. Other

12:08–13:28 Machine checks passed

Model synopsis: A single frame from a 1932 film shows a dimly lit, crowded scene with multiple figures in close proximity. A transcript line at 13:02 asks about going in, but no names, clear place, or time of day are established.

  • Multiple figures are gathered closely in a dimly lit space. [frame:1]

1 person observed.

“How we going in.” 13:02

Evidence, details and a link to share

Frame at 13:29, shot 5513:29
1 of 1 shots sampled

38. Other

13:28–13:30 Machine checks passed

Model synopsis: A group of dancers in patterned costumes perform in a dimly lit, crowded space. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 13:35, shot 5613:35
1 of 1 shots sampled

39. Other

13:30–13:40 Machine checks passed

Model synopsis: A dimly lit, crowded interior scene with many figures moving among wooden structures. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Frame at 13:42, shot 5713:42
1 of 1 shots sampled

40. Other

13:40–13:43 Machine checks passed

Model synopsis: A chaotic scene with multiple figures in motion, some airborne, in a dimly lit, crowded space. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Frame at 14:04, shot 5814:04
1 of 1 shots sampled

41. Other

13:43–14:25 Machine checks passed (partial)

Model synopsis: A person shouts for Anthony while holding something, and another person announces they have water. The scene is dimly lit with multiple figures visible in the background.

  • A person is visible holding an object while others stand in the background [frame:1]

Named: Anthony (t:14:09). 3 people observed.

“Hold!” 14:04 · “I want it!” 14:08

Evidence, details and a link to share

Sequence 24 from 14:25

Frame at 14:54, shot 5914:54
1 of 1 shots sampled

42. Vehicle interior

14:25–15:24 Machine checks passed

Model synopsis: A group of men in sailor uniforms are shown in a dimly lit interior, with one speaking about a taboo involving the king's daughter and a native prince. The dialogue suggests a comedic or ironic tone regarding social rules and a proposed solution involving running for a position.

4 people observed.

“Roku, where are you? Now, how? Let's get it. Roku, where are you?” 14:25 · “Well, you can certainly pick 'em. That's the king's daughter.” 14:36

Evidence, details and a link to share

Sequence 25 from 15:24

Frame at 15:45, shot 6015:45
1 of 1 shots sampled

43. Private office

15:24–16:05 Machine checks passed (partial)

Model synopsis: A man in a white cap and dark coat leans forward in a dim interior, possibly a doorway. Dialogue references Johnny going native and a plant shriveling after someone blew on it.

  • A man in a white cap leans forward in a doorway. [frame:1]

Named: Max (t:15:24), Johnny (t:15:24), Mike (t:15:47), Old Tom Tom (t:15:38). 5 people observed.

“It's funny, Max, that the tropics will do what she'd like, Johnny.” 15:24 · “He's going native.” 15:36

Evidence, details and a link to share

Sequence 26 from 16:05

Frame at 16:34, shot 6116:34
1 of 1 shots sampled

44. Other

16:05–17:02 Machine checks passed (partial)

Model synopsis: A person in silhouette moves near a dark, textured wall while three short lines are spoken. The scene is dimly lit and grainy, with no clear setting or objects visible beyond the figure and wall.

  • A silhouetted person moves near a dark, textured wall. [frame:1]

1 person observed.

“I'm going to go.” 16:08 · “No.” 16:17

Evidence, details and a link to share

Frame at 17:18, shot 6217:18Frame at 17:35, shot 6317:35Frame at 17:41, shot 6417:41
3 of 3 shots sampled

45. Other

17:02–17:46 Machine checks passed (partial)

Model synopsis: A person in light trousers is visible in a dark setting across three frames; a voice says 'Go to the devil. I'll get even with you.' No named characters or clear location are established.

  • A person in light trousers is visible in a dark setting. [frame:1]
  • A figure is seen standing in a misty or smoky environment. [frame:2]
  • A person is visible from the side, head turned down, in darkness. [frame:3]

1 person observed.

“I don't know.” 17:08 · “Go to the devil. I'll get even with you.” 17:38

Evidence, details and a link to share

Frame at 17:49, shot 6517:49
1 of 1 shots sampled

46. Other

17:46–17:53 Machine checks passed

Model synopsis: A figure is visible in a dark setting, bent over and reaching downward. No dialogue, text, or identifiable location is present in this beat.

  • A person is bent over, reaching downward with their right arm. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 27 from 17:53

Frame at 18:29, shot 6618:29
1 of 1 shots sampled

47. Underwater

17:53–19:05 Machine checks passed

Model synopsis: A single frame from 1932's BIRD OF PARADISE shows a dark, indistinct underwater scene with a faint light source above. No people, objects, or text are clearly visible, and no dialogue or events are recorded for this beat.

Evidence, details and a link to share

Frame at 19:10, shot 6719:10Frame at 20:12, shot 6820:12
2 of 2 shots sampled

48. Vehicle interior

19:05–21:08 Machine checks passed (partial)

Model synopsis: A man is seen underwater in two frames while voices argue above about a missing person named Johnny, who is said to have chosen to stay on an island. The group debates returning for him, but one man named Matthew insists Johnny is safe and they will not turn back.

  • A man is underwater, struggling or swimming. [frame:1]
  • A man is seen underwater, face visible, mouth open as if shouting or gasping. [frame:2]

Named: Matt (t:20:16), Matthew (t:20:57), Mac (t:20:27), Skipper (t:20:21). 5 people observed.

“Hey, Matt! What's happened to Johnny? I can't find him. What guns must let him?” 20:16 · “Hey, Schipper, is Johnny up forward? I haven't seen any up forward, is he? Well, follow the rocket. Johnny's not on the boat.” 20:21

Evidence, details and a link to share

Sequence 28 from 21:08

Frame at 21:30, shot 6921:30Frame at 21:55, shot 7021:55
2 of 2 shots sampled

49. Beach

21:08–21:58 Machine checks passed (partial)

Model synopsis: Three children are on a sandy beach with objects including a ukulele; a separate shot shows a group of people moving through a dense jungle. A voice asks questions and calls out names, including 'Oscar', while referencing items like a hot water bottle and toothpicks.

  • Three children sit on a beach with a ukulele and other objects. [frame:1]
  • A group of people walks through a jungle path. [frame:2]

Named: Oscar (t:21:22). 5 people observed.

“Hot water bottle, bicarb, Minnesota, needle and thread, a box of toothpicks, tennis rackets,” 21:13 · “a golf stick, a mama ginger ale, or in a ukulele.” 21:18

Evidence, details and a link to share

Sequence 29 from 21:58

Frame at 22:11, shot 7122:11
1 of 1 shots sampled

50. Other

21:58–22:24 Machine checks passed (partial)

Model synopsis: A man in light clothing stands facing a woman in a patterned dress; they are outdoors with trees and hills in the background. The transcript contains the spoken line 'Come on!' at 22:22.

  • A man and a woman stand facing each other outdoors. [frame:1]

2 people observed.

“Come on!” 22:22

Evidence, details and a link to share

Frame at 22:27, shot 7222:27
1 of 1 shots sampled

51. Other

22:24–22:30 Machine checks passed

Model synopsis: Two women in light attire are seated side by side, one smiling and the other with a finger to her lips. The background is indistinct but suggests other figures in a dimly lit interior space.

2 people observed.

Evidence, details and a link to share

Sequence 30 from 22:30

Frame at 22:43, shot 7322:43
1 of 1 shots sampled

52. Beach

22:30–22:55 Machine checks passed (partial)

Model synopsis: A group of people is gathered at the water's edge, with one man bending over another person lying on the ground. Several canoes are visible on the water in the background.

  • A man bends over a person lying on the ground at the water's edge. [frame:1]
  • Several canoes are visible on the water in the background. [frame:1]

5 people observed.

Evidence, details and a link to share

Frame at 23:13, shot 7423:13
1 of 1 shots sampled

53. Ocean

22:55–23:30 Machine checks passed (partial)

Model synopsis: A group of people are in a small boat on open water, some raising their arms. No dialogue or on-screen text is present in this beat.

  • People are visible in a small boat on water, some raising their arms. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 31 from 23:30

Frame at 23:31, shot 7523:31
1 of 1 shots sampled

54. Other

23:30–23:32 Machine checks passed

Model synopsis: A single frame from a 1932 film shows two figures in a dim, smoky interior; one is seated and holding a long object, the other is partially visible to the left. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 32 from 23:32

Frame at 24:55, shot 7624:55
1 of 1 shots sampled

55. Vehicle interior

23:32–26:17 Machine checks passed

Model synopsis: A man in light clothing sits in a small boat, holding a stringed instrument. He is audible singing or humming nonsensical syllables during this beat, and at one point says 'Rose' and 'I don't get this, assistant.'

  • A man sits in a small boat holding a stringed instrument. [frame:1]

Named: Rose (t:25:42). 1 person observed.

“Hey, what's the big idea?” 24:32 · “Rose.” 25:42

Evidence, details and a link to share

Sequence 33 from 26:17

Frame at 26:38, shot 7726:38
1 of 1 shots sampled

56. Forest

26:17–26:59 Machine checks passed (partial)

Model synopsis: A woman leans over a man lying down in a leafy outdoor setting; dialogue suggests a playful or tense interaction. The scene ends with a line indicating the arrival of others.

  • A woman leans over a man lying on the ground in a wooded area. [frame:1]

2 people observed.

“Charlie.” 26:19 · “Oh, you want me to struggle with you? Never on occasions like this. Honey, honey. Well, all right. But remember, I'm only pretending.” 26:24

Evidence, details and a link to share

Frame at 27:00, shot 7827:00Frame at 27:54, shot 7927:54
2 of 2 shots sampled

57. Forest

26:59–28:48 Machine checks passed (partial)

Model synopsis: A person in light clothing is visible among dense foliage, with dialogue suggesting urgency and a contrast with carefree people. No named individuals or specific time of day are established.

  • A person is visible standing among dense foliage. [frame:1]
  • The person remains visible among foliage, slightly shifted in posture. [frame:2]

1 person observed.

“Come on, baby.” 27:04 · “We've got to make a run for it.” 27:06

Evidence, details and a link to share

Frame at 29:09, shot 8029:09Frame at 29:32, shot 8229:32Frame at 29:35, shot 8329:35Frame at 29:41, shot 8529:41
4 of 6 shots sampled

58. Forest

28:48–29:43 Machine checks passed (partial)

Model synopsis: A shirtless man sits on the ground in a natural setting while another person, wearing beads and a patterned garment, speaks to him. The transcript contains fragmented dialogue, including the name 'Luana' and phrases in an unidentified language, suggesting a cultural or ritual context.

  • A shirtless man sits on the ground, looking down. [frame:1]
  • The ground is shown with roots and soil. [frame:2]
  • A person in beads and patterned garment speaks to the shirtless man while holding an object. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“What does it say? Luana la temata, si es.” 28:57 · “Well, I'll have to consult my secretary before I can tell you about that. Here, take a letter. Luana, lave not ahe. What's that about Luana?…” 29:06

Evidence, details and a link to share

Frame at 29:46, shot 8629:46Frame at 29:53, shot 8729:53
2 of 2 shots sampled

59. Native village

29:43–29:56 Machine checks passed (partial)

Model synopsis: A hand digs in soil and another hand works with sticks and string; a voice asks who wants to go around the native village. No named individuals or specific time of day are established.

  • A hand digs into the soil. [frame:1]
  • A hand with a shell necklace manipulates sticks and string. [frame:2]

3 people observed.

“Who want to go around the native village, huh?” 29:45

Evidence, details and a link to share

Sequence 34 from 29:56

Frame at 30:00, shot 8830:00
1 of 1 shots sampled

60. Forest

29:56–30:03 Machine checks passed

Model synopsis: Two shirtless figures face each other closely in a wooded outdoor setting. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 35 from 30:03

Frame at 30:15, shot 9030:15Frame at 30:41, shot 9130:41
2 of 2 shots sampled

62. Beach

30:11–31:04 Machine checks passed

Model synopsis: A group of people is gathered outdoors under palm trees, some seated and others standing, with one person speaking or calling out. The scene includes a mix of individuals in light clothing, with one frame showing a seated woman holding a drum-like object.

Named: Jack (t:30:47). 4 people observed.

“Hala Paiya!” 30:12 · “Oh, my God.” 30:17

Evidence, details and a link to share

Sequence 36 from 31:04

Frame at 31:06, shot 9231:06
1 of 1 shots sampled

63. Mountain

31:04–31:09 Machine checks passed (partial)

Model synopsis: A person climbs a steep, rocky slope. No dialogue or on-screen text is present in this beat.

  • A person climbs a steep, rocky slope. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 31:13, shot 9331:13Frame at 31:19, shot 9431:19Frame at 31:22, shot 9531:22Frame at 31:37, shot 9631:37
4 of 4 shots sampled

64. Forest

31:09–31:49 Machine checks passed (partial)

Model synopsis: A person slides down a slope and is later seen with others in a jungle and on a beach. Spoken lines include calls for help and references to moving from town to town.

  • A person slides down a steep, grassy slope. [frame:1]
  • Two people are seen sitting or crouching in dense jungle foliage. [frame:3]
  • A group of people, including one with long white hair, are on a beach near boats. [frame:4]
  • 1 more under Evidence and details.

4 people observed.

“We can whip it. Whip!” 31:12 · “Help me.” 31:15

Evidence, details and a link to share

Sequence 37 from 31:49

Frame at 31:51, shot 9731:51
1 of 1 shots sampled

65. Beach

31:49–31:52 Machine checks flagged: period without evidence

Model synopsis: A person in feathered headdress and leafy costume holds an object on a beach. No dialogue or on-screen text is present in this beat.

1 person observed.

Flagged: period without evidence (1911s)

Evidence, details and a link to share

Sequence 38 from 31:52

Frame at 31:54, shot 9831:54
1 of 1 shots sampled

66. Other

31:52–31:55 Machine checks passed

Model synopsis: A person wearing a feathered headdress and floral garland is shown in a close-up. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 39 from 31:55

Frame at 31:59, shot 9931:59
1 of 1 shots sampled

67. Beach

31:55–32:03 Machine checks passed (partial)

Model synopsis: A person in ceremonial attire stands on a beach as others gather around; one person gestures while another line of people holds spears. A voice accuses someone of scamming.

  • A person in ceremonial attire stands on a beach while others gather around. [frame:1]
  • One person gestures toward the central figure while holding a spear. [frame:1]
  • A line of people holding spears stands in the background. [frame:1]

4 people observed.

“You scammed them!” 31:55

Evidence, details and a link to share

Frame at 32:17, shot 10032:17
1 of 1 shots sampled

68. Beach

32:03–32:31 Machine checks passed (partial)

Model synopsis: A woman in ceremonial attire stands on a beach before a crowd; a voice mentions 'Kana Paiyala' and references the army and the old world. No named characters are visually identifiable beyond what is spoken.

  • A woman in ceremonial dress stands on a beach before a crowd. [frame:1]

Named: Kana Paiyala (t:32:24). 3 people observed.

“In the army always, in the old world,” 32:15 · “Kana Paiyala.” 32:24

Evidence, details and a link to share

Frame at 32:35, shot 10132:35Frame at 32:43, shot 10232:43Frame at 32:49, shot 10332:49
3 of 3 shots sampled

69. Other

32:31–32:50 Machine checks passed (partial)

Model synopsis: A group of people is gathered under a decorated canopy in a tropical setting, followed by shots of palm trees and a silhouette against the sky. A voice speaks lines that suggest a spiritual or ritual context, ending with 'Amen.'

  • A group of people is gathered under a decorated canopy [frame:1]
  • A silhouetted figure stands among palm trees [frame:2]
  • A close-up of a palm tree frond against the sky [frame:3]

2 people observed.

“Are you there, my boy?” 32:32 · “I know I'm with you.” 32:37

Evidence, details and a link to share

Frame at 33:01, shot 10433:01
1 of 1 shots sampled

70. Tropical outdoor

32:50–33:12 Machine checks passed (partial)

Model synopsis: A single frame shows a palm tree against a bright sky, with no visible vehicle interior or people. The transcript includes fragmented lines suggesting someone is in a car and will return to 'our boys,' but no visual evidence confirms this.

  • A palm tree is visible against a bright sky. [frame:1]

“In the car, we are.” 32:51 · “Oh” 33:05

Evidence, details and a link to share

Sequence 40 from 33:12

Frame at 33:36, shot 10633:36Frame at 33:41, shot 10733:41
2 of 2 shots sampled

72. Other

33:34–33:44 Machine checks passed

Model synopsis: A woman in a feathered headdress is shown in close-up while a man speaks off-screen, pleading with someone named Luana not to leave. The setting appears to be a dimly lit interior with other figures present.

Named: Luana (t:33:34). 3 people observed.

“Luana! Luana, don't go with them, Luana. White men want you to stay here with him always. Don't you understand, Luana? I want you to stay he…” 33:34

Evidence, details and a link to share

Frame at 33:47, shot 10833:47
1 of 1 shots sampled

73. Beach

33:44–33:50 Machine checks passed

Model synopsis: A group of people in traditional attire are seated under a thatched structure near water. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 41 from 33:50

Frame at 33:52, shot 10933:52
1 of 1 shots sampled

74. Beach

33:50–33:53 Machine checks passed

Model synopsis: A beach scene with multiple canoes and people in the water near shore. The shot is a wide, static view of the shoreline and sea.

Evidence, details and a link to share

Frame at 34:02, shot 11034:02
1 of 1 shots sampled

75. Beach

33:53–34:12 Machine checks passed

Model synopsis: Two men are visible on a beach near a palm tree, with canoes and people in the water in the background. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 42 from 34:12

Frame at 34:14, shot 11134:14Frame at 34:20, shot 11234:20Frame at 34:31, shot 11334:31
3 of 3 shots sampled

76. Forest

34:12–34:38 Machine checks passed (partial)

Model synopsis: A woman in a feathered headdress is shown among others in a tropical setting, followed by a man being restrained near a palm tree. The transcript includes fragmented phrases, some of which suggest a struggle or performance.

  • A woman in a feathered headdress is seated among others. [frame:1]
  • The woman in the headdress is shown in close-up. [frame:2]
  • A shirtless man is restrained near a palm tree by another man. [frame:3]

4 people observed.

“We are all on the bed. I'm not. I don't hate it.” 34:20 · “Untie my hand!” 34:33

Evidence, details and a link to share

Sequence 43 from 34:38

Frame at 34:41, shot 11434:41
1 of 1 shots sampled

77. Beach

34:38–34:43 Machine checks passed

Model synopsis: Two figures are seen near a tree on a beach with boats visible in the water. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 44 from 34:43

Frame at 34:44, shot 11534:44
1 of 1 shots sampled

78. Other

34:43–34:46 Machine checks passed

Model synopsis: A woman with dark hair and a necklace is shown in profile, her eyes closed, as she holds another person's hand. The scene is dimly lit and appears to be an intimate moment between two individuals.

2 people observed.

Evidence, details and a link to share

Frame at 34:47, shot 11634:47
1 of 1 shots sampled

79. Forest

34:46–34:48 Machine checks passed

Model synopsis: A man and a woman are visible near a tree in a dark, wooded area. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 34:52, shot 11734:52Frame at 35:01, shot 11835:01
2 of 2 shots sampled

80. Beach

34:48–35:05 Machine checks passed (partial)

Model synopsis: A man and a woman are on a beach near a palm tree; the man runs toward the water while the woman stands near the tree. In another shot, a man stands beside a canoe under trees, holding a paddle.

  • A man runs toward the water on a beach. [frame:1]
  • A man stands beside a canoe under trees, holding a paddle. [frame:2]

3 people observed.

“I'm not.” 34:49 · “Where can I get a canoe? I've got to have a canoe! A canoe, don't you understand?” 34:54

Evidence, details and a link to share

Sequence 45 from 35:05

Frame at 36:12, shot 11936:12
1 of 1 shots sampled

81. Other

35:05–37:19 Machine checks passed (partial)

Model synopsis: A shirtless man interacts with another person while holding an object, negotiating for a canoe in exchange for an item. The setting appears to be outdoors at night or in low light, with minimal background detail visible.

  • A shirtless man holds an object and gestures toward another person. [frame:1]

2 people observed.

“Oh, Taboo Bunk, I've got to have a canoe. A canoe. Taboo power.” 35:20 · “Here, you get me a canoe, I'll give you this. Nice and soft.” 35:28

Evidence, details and a link to share

Sequence 46 from 37:19

Frame at 37:23, shot 12037:23
1 of 1 shots sampled

82. Theatre

37:19–37:27 Machine checks passed

Model synopsis: A woman in a feathered costume stands among other costumed figures in a dimly lit, staged setting. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 47 from 37:27

Frame at 37:30, shot 12137:30
1 of 1 shots sampled

83. Beat 83

37:27–37:33 Machine checks passed

Model synopsis: A close-up of a woman with dark, curly hair and a light-colored, textured garment. No location, time, or event details are established from the frame or transcript.

1 person observed.

Evidence, details and a link to share

Sequence 48 from 37:33

Frame at 37:55, shot 12237:55
1 of 1 shots sampled

84. Other

37:33–38:17 Machine checks passed (partial)

Model synopsis: A woman dances in a dimly lit, crowded space while people watch; spoken lines include fragmented phrases and a chant. No names are spoken that can be attached to visible individuals.

  • A woman dances in front of a seated audience. [frame:1]

2 people observed.

“Bye-bye.” 37:34 · “For Kim?” 37:37

Evidence, details and a link to share

Sequence 49 from 38:17

Frame at 38:35, shot 12338:35
1 of 1 shots sampled

85. Forest

38:17–38:54 Machine checks passed

Model synopsis: A woman in a patterned dress stands among dense jungle foliage at night. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 50 from 38:54

Sequence 51 from 39:31

Frame at 39:37, shot 12539:37
1 of 1 shots sampled

87. Other

39:31–39:42 Machine checks passed

Model synopsis: A single blurry, high-contrast frame shows an indistinct figure in motion. No location, time, or identifiable person can be determined from the visual evidence.

Evidence, details and a link to share

Sequence 52 from 39:42

Frame at 39:55, shot 12639:55
1 of 1 shots sampled

88. Other

39:42–40:08 Machine checks passed

Model synopsis: A man is visible among a group of people in a dimly lit setting; no spoken names or clear place identification are provided in the transcript or frames. The scene is shot in black and white with tight framing on the central figure.

  • A man is crouched among a group of people in a dimly lit scene. [frame:1]

1 person observed.

“I'm” 39:54

Evidence, details and a link to share

Sequence 53 from 40:08

Frame at 40:44, shot 12740:44
1 of 1 shots sampled

89. Beat 89

40:08–41:20 Machine checks passed

Model synopsis: A single dark frame shows an indistinct, shadowy scene with no visible people, objects, or text. The time of day and location cannot be determined from the image.

Evidence, details and a link to share

Sequence 54 from 41:20

Frame at 41:26, shot 12841:26Frame at 41:35, shot 12941:35
2 of 2 shots sampled

90. River

41:20–41:39 Machine checks passed (partial)

Model synopsis: A shirtless man rows a small boat with a woman lying inside; the boat moves along a river bordered by dense trees. The scene is shot from behind and then from a distance, showing the boat navigating the waterway.

  • A man rows a boat with a woman lying inside. [frame:1]
  • The boat moves away from the camera along a river. [frame:2]

2 people observed.

Evidence, details and a link to share

Frame at 43:46, shot 13143:46
1 of 1 shots sampled

92. Forest

43:42–43:50 Machine checks passed

Model synopsis: A man and a woman stand close together in a lush, leafy outdoor setting. The woman wears a floral garland; the man is shirtless.

2 people observed.

Evidence, details and a link to share

Sequence 55 from 43:50

Frame at 44:22, shot 13344:22Frame at 44:50, shot 13444:50Frame at 44:59, shot 13544:59Frame at 45:07, shot 13645:07
4 of 4 shots sampled

94. Forest

43:57–45:09 Machine checks passed (partial)

Model synopsis: A shirtless man moves through dense jungle foliage at night, followed by another person. Dialogue includes calls to 'Kelly' and 'Mario', and expressions of intent to leave. The setting is dark and overgrown, with no artificial lighting visible.

  • A shirtless man walks through jungle foliage. [frame:1]
  • A person is seen from above, moving through dense leaves. [frame:2]
  • A person with a necklace runs through the jungle, viewed from behind. [frame:3]
  • 1 more under Evidence and details.

Named: Kelly (t:44:15), Mario (t:45:02). 4 people observed.

“Kelly, Kelly!” 44:15 · “You ain't alley up.” 44:18

Evidence, details and a link to share

Frame at 45:30, shot 13745:30
1 of 1 shots sampled

95. Forest

45:09–45:52 Machine checks passed (partial)

Model synopsis: A person is seen in a dark, dense jungle environment while voices shout commands and warnings. No named individuals are identified, and no objects beyond foliage are clearly visible.

  • A figure is visible among dense jungle foliage. [frame:1]

1 person observed.

“Hands up! Move over here, Frank! I can't help you!” 45:11 · “There comes another one.” 45:16

Evidence, details and a link to share

Frame at 45:55, shot 13845:55
1 of 1 shots sampled

96. Forest

45:52–45:58 Machine checks passed

Model synopsis: A single frame shows a dark, dense jungle with a tree trunk and foliage. No people, objects, or text are visible, and no dialogue or events are recorded in this beat.

Evidence, details and a link to share

Frame at 46:44, shot 13946:44
1 of 1 shots sampled

97. Forest

45:58–47:29 Machine checks passed (partial)

Model synopsis: A man and a woman are shown in a close, intimate moment outdoors; the woman leans over the man who is lying down. The transcript includes fragmented dialogue suggesting affection, confusion, and a mention of 'Rose' and 'Cliff'.

  • A woman leans over a man lying on the ground in a forested area. [frame:1]

Named: Cliff (t:46:23), Rose (t:47:23). 3 people observed.

“Right here. What? My.” 46:06 · “- Hi. - Hi. - Hi. - Hi. - Hi. - Hi. - Hi. - Hi. - Let me know how to do all these things. I'd be lost out of here. - Now, where's my wife? H…” 46:14

Evidence, details and a link to share

Frame at 48:09, shot 14048:09
1 of 1 shots sampled

98. Other

47:29–48:48 Machine checks passed (partial)

Model synopsis: A man and a woman are seated close together under a leafy canopy; the man speaks about building a house for shelter. The woman responds with an apology after he expresses frustration about her running away.

  • A man and a woman sit close together under a leafy canopy. [frame:1]

2 people observed.

“I'll teach you to run away from me.” 47:31 · “Uh-oh. Strange! Strange!” 47:34

Evidence, details and a link to share

Sequence 56 from 48:48

Frame at 48:54, shot 14148:54
1 of 1 shots sampled

99. Other

48:48–48:59 Machine checks passed

Model synopsis: A person is visible holding a long pole or spear in a dimly lit, thatched environment. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 57 from 48:59

Frame at 49:08, shot 14249:08
1 of 1 shots sampled

100. Thatched hut

48:59–49:16 Machine checks passed

Model synopsis: A shirtless man stands with hands on hips under a thatched roof in a dim, natural setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 58 from 49:16

Frame at 49:21, shot 14349:21
1 of 1 shots sampled

101. Shoreline

49:16–49:25 Machine checks passed (partial)

Model synopsis: A person stands on rocks at the water's edge holding a spear. The setting is a coastal shoreline with waves visible.

  • A person stands on rocks holding a spear near water. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 49:45, shot 14449:45
1 of 1 shots sampled

102. Beach

49:25–50:04 Machine checks passed

Model synopsis: Two figures are near rocks in the sea; one stands on a rock while the other is in the water. The scene is outdoors with no visible structures or artificial lighting.

2 people observed.

Evidence, details and a link to share

Sequence 59 from 50:04

Frame at 50:25, shot 14650:25
1 of 1 shots sampled

104. Other

50:15–50:34 Machine checks passed

Model synopsis: Two men stand near a thatched hut in a jungle setting; one is called Johnny and is praised for finding Finny's house, described as a castle. The scene is shot in black and white with naturalistic lighting and dense foliage.

Named: Johnny (t:50:24). 2 people observed.

“Well, you like it?” 50:20 · “Oh, Johnny! Finny's house, huh? You're a paladin. It's a castle.” 50:24

Evidence, details and a link to share

Sequence 60 from 50:34

Frame at 50:39, shot 14750:39Frame at 51:33, shot 14851:33
2 of 2 shots sampled

105. Forest

50:34–52:22 Machine checks passed (partial)

Model synopsis: A shirtless man and a woman are shown in close proximity in a natural, outdoor setting with goats nearby; dialogue references planes, a volcano, and returning to civilization. The man speaks of building a house and taking the woman home, while she resists, citing a volcanic curse.

  • The man and woman are shown near goats in a wooded area. [frame:1]
  • The man embraces the woman closely. [frame:2]

2 people observed.

“Look, Waker. Now you have planes. Hey, Nick, I didn't build that house for the goat. I built it for you and me. You do everything. Yeah, I'm…” 50:36 · “I won't let you go. You belong to me now, B.” 51:19

Evidence, details and a link to share

Frame at 52:25, shot 14952:25Frame at 52:41, shot 15052:41
2 of 2 shots sampled

106. Other

52:22–52:54 Machine checks passed (partial)

Model synopsis: A woman lies on a woven mat while a man sits nearby, looking out at a crowd and landscape. The transcript includes a monologue praising civilization's amenities, mentioning markets, theaters, and airplanes, and addressing someone named Anna.

  • A woman lies on a woven mat, smiling. [frame:1]
  • A man sits shirtless, looking out at a crowd and hills, while the woman remains lying down. [frame:2]

Named: Anna (t:52:28), Johnny (t:52:22). 4 people observed.

“Oh, Johnny. But it is so nice in the dark.” 52:22 · “Say hello, Anna. You certainly make civilization look silly. But it's not really. It's great.” 52:28

Evidence, details and a link to share

Sequence 61 from 53:28

Frame at 53:32, shot 15253:32
1 of 1 shots sampled

108. Other

53:28–53:35 Machine checks passed (partial)

Model synopsis: A person dances in front of a seated group under a thatched roof. The transcript contains only the word 'Oh, yeah.'

  • A person dances in front of a seated group under a thatched roof. [frame:1]

2 people observed.

“Oh, yeah.” 53:32

Evidence, details and a link to share

Sequence 62 from 53:35

Sequence 63 from 53:40

Sequence 64 from 54:20

Frame at 54:30, shot 15554:30
1 of 1 shots sampled

111. Field

54:20–54:39 Machine checks passed

Model synopsis: A group of people in patterned garments dance in a crowded outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 65 from 54:39

Sequence 66 from 55:23

Frame at 55:34, shot 15755:34
1 of 1 shots sampled

113. Forest

55:23–55:45 Machine checks passed

Model synopsis: A person is visible in a dimly lit, natural setting with tall vegetation; a voice calls out the name 'Johnny'. No other events or objects are clearly visible or mentioned.

Named: Johnny (t:55:32). 2 people observed.

“Johnny!” 55:32

Evidence, details and a link to share

Sequence 67 from 55:45

Frame at 55:47, shot 15855:47
1 of 1 shots sampled

114. Sea

55:45–55:50 Machine checks passed

Model synopsis: A wide shot shows a dark, choppy sea with small, distant figures visible on the horizon. No people are clearly visible in the foreground, and no dialogue or on-screen text is present.

  • Small, indistinct figures are visible on the horizon over a choppy sea. [frame:1]

Evidence, details and a link to share

Sequence 68 from 55:50

Sequence 69 from 55:55

Frame at 55:58, shot 16055:58
1 of 1 shots sampled

116. Field

55:55–56:01 Machine checks passed (partial)

Model synopsis: A group of figures walks away from the camera across uneven ground, carrying spears. The scene is outdoors, in black and white, with no visible structures or time indicators.

  • A group of people walks away from the camera across a field. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 70 from 56:01

Sequence 71 from 56:09

Frame at 56:19, shot 16256:19Frame at 56:30, shot 16356:30
2 of 2 shots sampled

118. Other

56:09–56:31 Machine checks passed (partial)

Model synopsis: A person is shown lying down in a thatched structure while another person calls out a name and urges them to come on. The setting appears to be a simple shelter with woven walls.

  • A person is lying down in a thatched structure. [frame:1]

Named: Johnny (t:56:12). 2 people observed.

“Johnny! Johnny!” 56:12 · “Come on.” 56:25

Evidence, details and a link to share

Sequence 72 from 56:31

Frame at 56:36, shot 16456:36Frame at 56:43, shot 16556:43Frame at 56:48, shot 16656:48
3 of 3 shots sampled

119. Ocean

56:31–56:51 Machine checks passed (partial)

Model synopsis: A person is shown underwater, then a fish swims past, and finally a person's head emerges from turbulent water. No dialogue or on-screen text is present in this sequence.

  • A person is underwater, arms raised. [frame:1]
  • A fish swims through the water near a dark shape. [frame:2]
  • A person's head emerges from choppy water. [frame:3]

2 people observed.

Evidence, details and a link to share

Frame at 56:59, shot 16756:59
1 of 1 shots sampled

120. Water

56:51–57:06 Machine checks passed

Model synopsis: A person is partially submerged in water, creating splashes. The scene is shot in black and white with no visible surroundings beyond the water surface.

  • a person splashes in water [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 57:18, shot 16857:18
1 of 1 shots sampled

121. Ocean

57:06–57:29 Machine checks passed

Model synopsis: A person is seen swimming in turbulent water. No dialogue or on-screen text is present.

  • A person is swimming in rough water. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 73 from 57:29

Frame at 57:46, shot 16957:46
1 of 1 shots sampled

122. Forest

57:29–58:03 Machine checks passed (partial)

Model synopsis: A shirtless man stands in a dense jungle, viewed from behind. The transcript contains an exclamation at 57:32.

  • A shirtless man stands in a jungle, facing away from the camera. [frame:1]

1 person observed.

“Oh, my God.” 57:32

Evidence, details and a link to share

Frame at 58:04, shot 17058:04Frame at 58:06, shot 17158:06
2 of 2 shots sampled

123. Other

58:03–58:07 Machine checks passed

Model synopsis: Two frames show a thatched structure with a wooden fence and a person near a log in a natural setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 74 from 58:54

Frame at 58:59, shot 17358:59Frame at 59:07, shot 17459:07
2 of 2 shots sampled

125. Beach

58:54–59:10 Machine checks passed (partial)

Model synopsis: A man stands on a rocky shore facing the sea while another runs toward the camera; the transcript includes a shouted command. The setting is a beach with distant land visible.

  • A man stands on rocks facing the sea. [frame:1]
  • A man runs toward the camera with an object held to his mouth. [frame:2]

2 people observed.

“Go up! Go up!” 58:54

Evidence, details and a link to share

Sequence 75 from 59:10

Frame at 59:26, shot 17559:26
1 of 1 shots sampled

126. Mountain

59:10–59:42 Machine checks passed

Model synopsis: A single frame shows a dark, cloudy sky over a mountainous silhouette. No people, objects, or on-screen text are visible, and no transcript is provided for this beat.

Evidence, details and a link to share

Frame at 1:00:00, shot 1761:00:00
1 of 1 shots sampled

127. Other

59:42–1:00:17 Machine checks passed

Model synopsis: A single frame shows a dark, blurry figure holding a long object against a turbulent, light background. No people are named, no events are described, and no place is identifiable from the visual evidence.

Evidence, details and a link to share

Frame at 1:00:19, shot 1771:00:19Frame at 1:00:24, shot 1781:00:24
2 of 2 shots sampled

128. Sea

1:00:17–1:00:27 Machine checks passed (partial)

Model synopsis: A person is seen from behind looking out over turbulent water, followed by a shot of the churning sea with a dark landmass in the distance. No dialogue or on-screen text is present in these frames.

  • A person stands looking out over rough water. [frame:1]
  • The camera shows a wide view of turbulent sea with a dark landmass on the horizon. [frame:2]

1 person observed.

Evidence, details and a link to share

Frame at 1:00:55, shot 1791:00:55
1 of 1 shots sampled

129. River

1:00:27–1:01:22 Machine checks passed

Model synopsis: A single frame shows churning, turbulent water, likely a river or ocean current. No people, objects, or text are visible, and no dialogue is present.

Evidence, details and a link to share

Frame at 1:01:25, shot 1801:01:25
1 of 1 shots sampled

130. Mountain

1:01:22–1:01:28 Machine checks passed (partial)

Model synopsis: A volcanic eruption is depicted with smoke and ash rising from a mountain peak. No people or man-made structures are visible in the frame.

  • Smoke and ash rise from a mountain peak. [frame:1]

Evidence, details and a link to share

Frame at 1:01:52, shot 1811:01:52
1 of 1 shots sampled

131. Forest

1:01:28–1:02:15 Machine checks passed

Model synopsis: A single frame from 1932's BIRD OF PARADISE shows a dark, rocky, and uneven terrain with no visible people or objects. No transcript is provided for this beat, so no spoken content or named characters can be reported.

Evidence, details and a link to share

Frame at 1:02:27, shot 1821:02:27
1 of 1 shots sampled

132. Mountain

1:02:15–1:02:39 Machine checks passed

Model synopsis: A single frame shows a dark, turbulent landscape with smoke or clouds rising over rugged terrain. No people, objects, or text are visible, and no dialogue is present in the supplied transcript.

Evidence, details and a link to share

Sequence 76 from 1:02:39

Frame at 1:05:43, shot 1831:05:43
1 of 1 shots sampled

133. Forest

1:02:39–1:08:46 Machine checks passed (partial)

Model synopsis: A man and a woman are shown in close proximity in a dimly lit, naturalistic setting; the transcript contains repeated vocalizations and emotional dialogue about love, death, and divine matters. No clear time of day or period is established, and no objects or on-screen text are visible.

  • A man and a woman stand close together in a forested area. [frame:1]
  • The woman looks up at the man with a slight smile. [frame:1]
  • The man raises his hand toward the woman's face. [frame:1]

Named: Johnny (t:65:22). 2 people observed.

“I'm going to go.” 64:37 · “Johnny! Come on.” 65:22

Evidence, details and a link to share

Frame at 1:11:07, shot 1851:11:07Frame at 1:12:22, shot 1861:12:22
2 of 2 shots sampled

135. Vehicle interior

1:09:54–1:12:23 Machine checks passed (partial)

Model synopsis: A man is lying in bed, appearing injured, while another person tends to him. Voices off-screen discuss the injury and urge him to come on deck.

  • A person tends to a man lying in bed. [frame:1]
  • A man lies in bed, appearing injured or ill. [frame:2]

Named: Schiffer (t:70:22), Luana (t:71:39), Johnny (t:71:42), Doctor (t:71:43), Sally (t:71:56), Johnny Wells (t:71:59). 8 people observed.

“Don't give any more, Schiffer.” 70:22 · “That'll fix you up, young fellow. Don't you move that arm.” 71:31

Evidence, details and a link to share

Frame at 1:12:37, shot 1871:12:37
1 of 1 shots sampled

136. Bedroom

1:12:23–1:12:51 Machine checks passed (partial)

Model synopsis: A woman sits beside a bed in a dimly lit room, speaking and gesturing. She says she is going, and the other person responds with 'No' and then 'Yes!'

  • The woman is visible sitting beside the bed, gesturing with her hands. [frame:1]

2 people observed.

“No.” 72:24 · “I'm going to go.” 72:37

Evidence, details and a link to share

Sequence 77 from 1:12:51

Frame at 1:13:19, shot 1881:13:19
1 of 1 shots sampled

137. Vehicle interior

1:12:51–1:13:48 Machine checks passed

Model synopsis: Two men in naval-style uniforms are seated in a dimly lit interior, likely a ship's cabin, discussing a woman's fate and cultural differences. One man speaks of family and superstition while the other questions the verdict, referencing the year 1932 and dismissing sentimentality.

2 people observed.

“How is he, Max? He'll see Rick, but he'll pull out all right.” 72:51 · “I still contend that she won't stand plan planning. You know, you take a girl who...” 73:04

Evidence, details and a link to share

Sequence 78 from 1:13:48

Frame at 1:14:15, shot 1891:14:15
1 of 1 shots sampled

138. Bedroom

1:13:48–1:14:43 Machine checks passed (partial)

Model synopsis: A man lies in bed while a woman leans over him; she speaks urgently as he responds weakly. The dialogue suggests a dire situation and emotional farewell.

  • Woman leans over man lying in bed. [frame:1]

2 people observed.

“I'm sorry. You're not likely to take me away from you. You're mad. You are doomed, I do.” 73:51 · “But I'm not left in.” 74:01

Evidence, details and a link to share

Sequence 79 from 1:14:43

Frame at 1:14:51, shot 1901:14:51
1 of 1 shots sampled

139. Kitchen

1:14:43–1:14:59 Machine checks passed (partial)

Model synopsis: A woman stands in a kitchen, opening a refrigerator. The scene is lit by a single bright light source from above, casting strong shadows.

  • A woman opens a refrigerator door. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 80 from 1:14:59

Frame at 1:16:11, shot 1921:16:11
1 of 1 shots sampled

141. Other

1:15:37–1:16:46 Machine checks passed

Model synopsis: A person is visible in a dimly lit interior, wearing a striped top; dialogue mentions a volcano curse, a girl, and a character named Kaka. No names are spoken that can be linked to visible individuals.

1 person observed.

“He says that the volcano curse has been put on Johnny. And unless the girl returns with them,” 75:45 · “Let me get the light. Hurry up.” 75:59

Evidence, details and a link to share

Sequence 81 from 1:16:46

Frame at 1:17:59, shot 1931:17:59
1 of 1 shots sampled

142. Beat 142

1:16:46–1:19:13 Machine checks passed (partial)

Model synopsis: A woman is shown in close-up, holding and looking at an object; voices urge someone named Luanna to go, and one says 'Amen.' No location or time of day is established from the frames or transcript.

  • A woman holds an object and looks at it closely. [frame:1]

Named: Luanna (t:78:41). 2 people observed.

“Come on.” 76:50 · “Go, Luanna. We take you with us.” 78:41

Evidence, details and a link to share

Sequence 82 from 1:19:13

Frame at 1:19:24, shot 1941:19:24
1 of 1 shots sampled

143. Other

1:19:13–1:19:35 Machine checks passed

Model synopsis: A man in a cap speaks to another man in a dark setting; the transcript suggests a conversation about courage and leaving. No named characters or clear location are established from the frames or transcript.

  • A man in a cap speaks to another man in a dark setting. [frame:1]

2 people observed.

“Mm-hmm.” 79:16 · “Mac, if I had that much courage, I'd... Get the left to get out of here.” 79:17

Evidence, details and a link to share

Sequence 83 from 1:19:35

Frame at 1:20:03, shot 1951:20:03
1 of 1 shots sampled

144. Beat 144

1:19:35–1:20:32 Machine checks passed (partial)

Model synopsis: The final frame of the film displays the Radio Pictures logo and 'THE END' text. A single spoken line, 'Oh, my God,' is heard at 79:47.

  • The film ends with a title card showing the Radio Pictures logo and 'THE END'. [frame:1]

“Oh, my God.” 79:47

Evidence, details and a link to share

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 458 segments kept, 231 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 0:30 Five and a half thousand! Five and a half thousand! Five and a half!
  2. 0:52 That smooth spot's between the two lines of bridges. Yeah, I see it. Four and a half getting shallow fast!
  3. 1:00 Four and a half, King Shalhoub! Four and a half! And a half! Judge, there's three fathoms in the battle. Hey, Tinker, he's that main chief. How many feet in the fathom? Six.
  4. 1:10 Oh, my God.
  5. 1:11 18 feet to the passage.
  6. 1:13 Yeah, and the ship takes 15 of those. Oh, three seats is fair.
  7. 1:18 And I forgot to bring my water wing.
  8. 1:20 Good morning, St. Peter.
  9. 1:22 Three and a half, madam.
  10. 1:25 Three and a half. God, shipper, how old's that shot? On by everybody. We're going through the passage. Find that jet sheet. Right there's a hat. Touch the swallow on the right or we'll ride it through. Here they come. Look out, Johnny.
  11. 1:52 We made it. We're over. Great work, sir. I bet we didn't have an engine to spare. You bet not. Take the wheel, will you? Yes, sir.
  12. 2:04 Come on.
  13. 2:12 Five and a half and getting deeper. Take some, kids. We're in.
  14. 2:17 - Mainer, Blaine? - Yep. Yeah. After this, I'll do all my yachting in the store. Oh, you're always crabby. That was the quart. Yeah, well, you can have it. I don't want it.
  15. 2:25 Say, you ought to get stock absorbers in this boat.
  16. 2:33 Mailers, come and get it. Now, now, now, now, women and children first.
  17. 2:48 I don't want to.
  18. 3:07 All right.
  19. 3:09 I don't know.
  20. 3:10 I'm out of here!
438 more segments
  1. 3:12 Hey!
  2. 3:13 - Audrey! - Yeah, Sandy.
  3. 3:23 Hello! Hello! - What's that supposed to be? - The color of the wild. Hello!
  4. 3:34 Darling, you're out of luck. No blinds. - Yeah, I don't. - Yeah.
  5. 3:38 Oh, you don't just want to be a cannibal, do you? Well, if they are, we'll be the mule. They're not allowed to eat ham. Don't do that. I'm finished.
  6. 3:52 What's wrong this place? Probably one of the Virgin Islands. Heaven forbid. Hey, hey, hey. Come on. Come on. Come and get me. Why is it?
  7. 4:04 Johnny, here's the charm of the South Sea.
  8. 4:08 and out of nowhere you stumble onto one of these little islands.
  9. 4:11 Well, nearly always you'll find the natives a happy, carefree people. Yeah, I know. A part of light wines and dancing.
  10. 4:19 Hey, look.
  11. 4:26 Hello, baby. Is that anything on for tonight? Yes, sir.
  12. 4:30 I'll give you my heart's blood.
  13. 5:00 Hey, this water.
  14. 5:30 Oh, my God.
  15. 5:59 I want you boys to get rid of these things for a long time.
  16. 6:03 Hey, wait a minute. What are you doing, Mr. Kutley? Come here, you. There, throw those things. Now, all right. Oh, the bad thing. Oh, the poor thing. Oh, the poor thing. It's a green business, you guys.
  17. 6:14 - Yeah.
  18. 6:15 Hey, Jeremy. See you for the grill over there?
  19. 6:17 There's a present for you.
  20. 6:47 Hey, don't sit in. You might be the native. Here, give me a handle of this one.
  21. 7:17 Hey, don't do that.
  22. 7:41 Get in there, quick!
  23. 8:27 That's what I...
  24. 8:29 What happened?
  25. 8:31 When the shark took the bait, your foot got caught in the rope and over you went. - How'd they get out of it? - The line parted between you and the shark. - Looks like he's been cut. - Yeah. - Probably one of the natives.
  26. 8:42 Which one?
  27. 8:56 Go on, sweetheart.
  28. 8:57 I'm listening.
  29. 9:12 Sardines again.
  30. 9:49 Amen.
  31. 9:49 Mm-hmm.
  32. 9:56 All right.
  33. 10:01 Amen.
  34. 10:09 Not bad, eh? Perfect. I'm drunk again. Oh, I was just tired, I know. He must be the big medicine around here, eh? He sure is. That's the guy that beats the volcano.
  35. 10:21 - A piece of volcano. - Sure.
  36. 10:23 That's the way they keep the volcano quiet. He feeds it.
  37. 10:26 - Those are the fish? - No, sir. They have to be young and beautiful to please the volcano.
  38. 10:32 I can't make up my mind what I want. That'd be strong.
  39. 10:49 What is this, a paper hanger convention? All kidding aside, what is this? It's a poi. It's a poi. Poi or dear, I wouldn't like it. What do you like poi?
  40. 11:02 Apple poise, lemon poise, rhubarb poise. Oh, that kind of poise. Well, here goes.
  41. 11:09 Oh, that's good meat.
  42. 11:24 That's beautiful, Mike.
  43. 11:32 Hello there.
  44. 12:02 Oh, that's good. I'm eating worse than this in the Waldorf. Hey, Shippy, what is this? It's an octopus. An octopus? Something called from Sam with you tonight. Hector, it's me. Oh, it's got me. I'm an octopus.
  45. 13:02 How we going in.
  46. 14:04 Hold!
  47. 14:08 I want it!
  48. 14:09 Anthony!
  49. 14:11 I have water!
  50. 14:25 Roku, where are you? Now, how? Let's get it. Roku, where are you?
  51. 14:31 I have my audio for you. Kipper.
  52. 14:34 What are they sore about?
  53. 14:36 Well, you can certainly pick 'em. That's the king's daughter.
  54. 14:39 It's all right with me. Ah, but it isn't all right with them. She's taboo. What do you mean? Well, you see, they have rules about such things in these islands. No one's supposed to catch her except the native prince. They're very strict about it. You ought to get your throat cut, Johnny. Well, Johnny, it looks to me as if the only out is for you to run for the job of native prince on the Democratic ticket this morning. Ha, ha, ha, ha, ha.
  55. 15:19 *Sings*
  56. 15:24 It's funny, Max, that the tropics will do what she'd like, Johnny.
  57. 15:31 I wish they did it to me.
  58. 15:34 You better keep your eye on him, Max.
  59. 15:36 He's going native.
  60. 15:38 Old devil nice guy. Old Tom Tom done stole our Johnny away. Don't you wish you were young enough to feel the way that kid feels?
  61. 15:47 That's right, Mike.
  62. 15:48 Not me. Why keep me awake.
  63. 15:51 Hey, did you see the expression on Johnny's face when I went to talk to him?
  64. 15:55 doing all that
  65. 15:57 Who would have made those plants shrivel up like that anyhow?
  66. 16:00 I threw my breath on it.
  67. 16:08 I'm going to go.
  68. 16:17 No.
  69. 16:38 I'm sorry.
  70. 17:08 I don't know.
  71. 17:38 Go to the devil. I'll get even with you.
  72. 19:08 Hey!
  73. 19:34 Wait. How are you?
  74. 19:37 Wait. Wait.
  75. 19:39 Knock him, knock him away. Knock him. Over here. Over here.
  76. 19:44 Look at him.
  77. 20:00 Come on.
  78. 20:04 Hang on!
  79. 20:16 Hey, Matt! What's happened to Johnny? I can't find him. What guns must let him?
  80. 20:21 Hey, Schipper, is Johnny up forward? I haven't seen any up forward, is he? Well, follow the rocket. Johnny's not on the boat.
  81. 20:27 What are you grinning about, Mac? Well, as a matter of fact, I had a long talk with Johnny last night. He's decided to stay on the island, and we'll pick him up on our way back. Got it. Oh, you're kidding, Mac. Johnny, somewhere on that boat. No, I'm not kidding, and as a matter of fact, I think it's a swell idea. I wish I'd done the same thing when I was a kid. Well, this is ridiculous. Hey, Skipper, turn around. We're going back. You never get out of there alive. Those people are savages. Come on, Skipper, let's go back. Come on, turn around. Now, Skipper, we're not going back.
  82. 20:57 Matthew, you mad...
  83. 20:58 No, I'm not mad. I think I know Johnny a little better than you fellas. Matter of fact, I'm for him 100% and I told him so last night. So that's that. Now, don't you worry about Johnny. I packed his duffel bag and put in everything you need. Let's see, uh...
  84. 21:13 Hot water bottle, bicarb, Minnesota, needle and thread, a box of toothpicks, tennis rackets,
  85. 21:18 a golf stick, a mama ginger ale, or in a ukulele.
  86. 21:22 Hey, what are you doing here? You're going to cut yourself to that. Hey there, Oscar. You and my boy's shirt. What are you doing? Hey, give me that.
  87. 21:52 What's going on around here?
  88. 22:22 Come on!
  89. 24:32 Hey, what's the big idea?
  90. 24:38 La-da-dee.
  91. 24:40 Ah, that's not...
  92. 24:42 La-da-da-dee-dee-dee-da-da-da-da.
  93. 24:57 Yadda-da-di, yadda.
  94. 25:00 *Honorra singing*
  95. 25:08 Have a nice.
  96. 25:12 All right.
  97. 25:21 I
  98. 25:38 Mm-hmm.
  99. 25:42 Rose.
  100. 25:50 I don't get this, assistant.
  101. 25:54 No horse?
  102. 25:55 Here's a hallou.
  103. 25:58 Oh, you want me to sit down? Oh, well, all right. I'll try anything. What?
  104. 26:05 Yeah.
  105. 26:06 Mm-hmm.
  106. 26:06 Mm-hmm.
  107. 26:08 Mm-hmm.
  108. 26:19 Charlie.
  109. 26:21 I'll get your baby.
  110. 26:23 Bonnie!
  111. 26:24 Oh, you want me to struggle with you? Never on occasions like this. Honey, honey. Well, all right. But remember, I'm only pretending.
  112. 26:41 No. Anymore.
  113. 26:46 Anyone again?
  114. 26:47 Oh, anywho more.
  115. 26:55 We have company.
  116. 27:04 Come on, baby.
  117. 27:06 We've got to make a run for it.
  118. 27:57 Happy carefree people. On the light wines and dancing, huh? Right.
  119. 28:07 I'm
  120. 28:12 Come on.
  121. 28:27 Hey!
  122. 28:47 I'll be right back.
  123. 28:57 What does it say? Luana la temata, si es.
  124. 29:01 They don't tell me.
  125. 29:04 Malachan, that's how far?
  126. 29:06 Well, I'll have to consult my secretary before I can tell you about that. Here, take a letter. Luana, lave not ahe. What's that about Luana? Lave not ahe. Ha, ha, ha. Hi.
  127. 29:22 Bele mojo. I see. Tama, tama. Yeah.
  128. 29:29 Luana! Oh, I see. Luana.
  129. 29:34 Oi!
  130. 29:35 Well, that's me, the white stick, huh?
  131. 29:39 - Panaca. - Native.
  132. 29:45 Who want to go around the native village, huh?
  133. 30:03 "In the arms of the Lord"
  134. 30:12 Hala Paiya!
  135. 30:17 Oh, my God.
  136. 30:22 I'll be there and around.
  137. 30:27 God, O Padre, He will be.
  138. 30:32 I'm waiting for the Lord.
  139. 30:47 Hey, Jack, you're down there.
  140. 31:03 Amen.
  141. 31:12 We can whip it. Whip!
  142. 31:15 Help me.
  143. 31:16 Hey.
  144. 31:26 Right.
  145. 31:27 From town to town.
  146. 31:32 Hey!
  147. 31:55 You scammed them!
  148. 32:15 In the army always, in the old world,
  149. 32:24 Kana Paiyala.
  150. 32:32 Are you there, my boy?
  151. 32:37 I know I'm with you.
  152. 32:41 "All these funny stars, how do you go?"
  153. 32:46 Amen.
  154. 32:51 In the car, we are.
  155. 33:05 Oh
  156. 33:08 All right.
  157. 33:10 I'll be back to our boys.
  158. 33:14 I love you, Father, in your name.
  159. 33:19 Call me Mike.
  160. 33:25 Hey!
  161. 33:34 Luana! Luana, don't go with them, Luana. White men want you to stay here with him always. Don't you understand, Luana? I want you to stay here with me.
  162. 34:13 Weedle my hand.
  163. 34:15 In the air.
  164. 34:17 Ma-la-la-la-la, baby, yeah.
  165. 34:20 We are all on the bed. I'm not. I don't hate it.
  166. 34:27 Yeah.
  167. 34:28 Hawaii's all over
  168. 34:33 Untie my hand!
  169. 34:35 Untie the rope!
  170. 34:49 I'm not.
  171. 34:54 Where can I get a canoe? I've got to have a canoe! A canoe, don't you understand?
  172. 35:18 I will.
  173. 35:20 Oh, Taboo Bunk, I've got to have a canoe. A canoe. Taboo power.
  174. 35:28 Mm-hmm.
  175. 35:28 Here, you get me a canoe, I'll give you this. Nice and soft.
  176. 35:33 Here, I'll give you this. Light!
  177. 35:35 The smoke?
  178. 36:10 - Come on, there, just sit. - Here. Here.
  179. 36:14 I give it to you.
  180. 36:15 You take it. Now you get me canoe, canoe, see? Canoe.
  181. 36:20 I'll take it away from you unless you get me a canoe right away. You get me a canoe?
  182. 36:24 All right, here.
  183. 36:28 Good job, huh? Great idea. Here, put some on my back.
  184. 37:34 Bye-bye.
  185. 37:35 None in more than that.
  186. 37:36 Come on.
  187. 37:37 For Kim?
  188. 37:38 I'm not good.
  189. 37:40 No, me, I'll tell you.
  190. 37:41 Oh, wait. Oh, you're my little waiting waiting.
  191. 37:44 It's my name here. Here, here, here, here, here.
  192. 37:48 "How, O, Ek Tekeli, Oku, O, Reha, Now, Nam, Maul, Oku, No!"
  193. 39:13 Now, men, it's not the time.
  194. 39:15 Hey!
  195. 39:54 I'm
  196. 41:47 I'm going to go.
  197. 42:01 Look.
  198. 42:16 Oh.
  199. 42:17 Coward?
  200. 42:18 No!
  201. 42:20 What?
  202. 42:22 Power?
  203. 42:23 No! Oh, I see what you mean. Power.
  204. 42:28 Home!
  205. 42:30 Ollie? Ollie?
  206. 42:32 Our...
  207. 42:34 Boom.
  208. 42:35 Ah, that's swell.
  209. 42:43 - Ew! - Oh, look. - Eleanor! - Oh, look.
  210. 42:48 Whoo!
  211. 43:04 What?
  212. 43:07 Oh, water!
  213. 43:10 Water!
  214. 43:12 Pa!
  215. 43:13 - Here! - You're a saint!
  216. 43:35 - Look at me!
  217. 44:04 Come on.
  218. 44:15 Kelly, Kelly!
  219. 44:18 Yes.
  220. 44:18 You ain't alley up.
  221. 44:19 Whee-hee, whee-hee.
  222. 44:21 Amen.
  223. 44:22 Well, here goes.
  224. 44:23 I'm going to go.
  225. 44:24 I'm going to go.
  226. 44:43 Come on.
  227. 44:45 Oh.
  228. 44:48 I'm not.
  229. 44:49 Come on, come on. Give me a hug.
  230. 45:02 Hey, Mario, you're right! What do you like?
  231. 45:11 Hands up! Move over here, Frank! I can't help you!
  232. 45:16 There comes another one.
  233. 45:17 - Whoo! - Stop! - Whoo! - Watch him!
  234. 45:22 Oh, hi, hi, hi, hi. Hi, hi. Hi. I know the only first place to stop.
  235. 45:30 Oh, my God.
  236. 46:06 Right here. What? My.
  237. 46:08 Lovely. Oh, nice. Nice, huh?
  238. 46:13 Nice.
  239. 46:14 - Hi. - Hi. - Hi. - Hi. - Hi. - Hi. - Hi. - Hi. - Let me know how to do all these things. I'd be lost out of here. - Now, where's my wife? Here. - Hi, dear.
  240. 46:23 Cliff.
  241. 46:26 Mm-hmm. Still a little bit.
  242. 46:30 I'm sorry.
  243. 46:32 I'm going to go.
  244. 46:43 Right by here.
  245. 46:51 I like him. I like him. You take a little nap. We'll see how you like him.
  246. 46:57 Hmm.
  247. 46:58 Mmm! Mmm, mild.
  248. 47:23 Rose, I make your shift.
  249. 47:31 I'll teach you to run away from me.
  250. 47:34 Uh-oh. Strange! Strange!
  251. 47:42 Say, I feel like a potato bug. We can't run underneath leaves every time it rains. I've got to build a house. House? Yeah, a place to live in, a shelter, you know, a place to sleep.
  252. 48:08 Oh, yeah. Well, that too.
  253. 48:41 I'm sorry.
  254. 50:13 When it rains, let us warm.
  255. 50:20 Well, you like it?
  256. 50:24 Oh, Johnny! Finny's house, huh? You're a paladin. It's a castle.
  257. 50:36 Look, Waker. Now you have planes. Hey, Nick, I didn't build that house for the goat. I built it for you and me. You do everything. Yeah, I'm a great guy.
  258. 50:52 You happy?
  259. 50:58 You know, when the gang comes back, I'm gonna take you home with me.
  260. 51:03 No, don't. No.
  261. 51:07 Why not?
  262. 51:09 Someday...
  263. 51:11 Pele Angel. Tum Tum Skol.
  264. 51:14 I go. You mean there's a volcano?
  265. 51:19 Mm-hmm. I won't let you go. You belong to me now, B.
  266. 51:24 If I not hear, when Tele calls, when Tele angry, you too.
  267. 51:31 Volcano Curson, you...
  268. 51:33 You die, too. Oh, now that's a lot of hooey.
  269. 51:36 I'm not afraid of Paley or what the volcano curse can do to me. And you're not going to be afraid either. It's going to take you back to civilization.
  270. 51:44 They don't have any crazy superstitious ideas about...
  271. 51:47 The volcano is being mad at people and putting a curse on them. Key station?
  272. 51:53 Who is that? Well, that's not a place. That's where things are happening. People are accomplishing something. Ever tell you about the radio? All you do is sit there and turn a little dial, and all of a sudden, out of the air comes down. Right where you are.
  273. 52:10 Isn't that fair?
  274. 52:13 Now, look. It's getting dark. Now, if we were in San Francisco, bingo.
  275. 52:17 I press the button? Right.
  276. 52:22 Oh, Johnny. But it is so nice in the dark.
  277. 52:28 Say hello, Anna. You certainly make civilization look silly. But it's not really. It's great.
  278. 52:33 See, where do you see it? Markets, streets with all the traffic and lights. People going to theaters. Hotels, grand, piled bathrooms. Upwater running into steaming tubs. Restaurants where they serve grand food. Parties, football games, dances, speedboats, airplanes roaring through the air.
  279. 52:52 G-Lo on a civilization...
  280. 53:32 Oh, yeah.
  281. 54:02 I'm going to go.
  282. 54:54 Felix! Felix! Ale!
  283. 55:00 Ale!
  284. 55:02 Ali, stop!
  285. 55:32 Johnny!
  286. 56:12 Johnny! Johnny!
  287. 56:25 Come on.
  288. 57:32 Oh, my God.
  289. 58:12 Go on up!
  290. 58:15 Come on!
  291. 58:19 Joanna!
  292. 58:20 Go on up.
  293. 58:54 Go up! Go up!
  294. 1:02:44 Hmm.
  295. 1:02:46 Hmm.
  296. 1:02:47 Mm-hmm.
  297. 1:02:50 Mm-hmm.
  298. 1:02:52 Mm-hmm.
  299. 1:02:53 Mm-hmm.
  300. 1:02:55 Hmm.
  301. 1:02:56 Hmm.
  302. 1:03:00 Hmm.
  303. 1:03:01 Mmh.
  304. 1:03:02 Mm-hmm.
  305. 1:03:04 Mm-hmm.
  306. 1:03:06 Mm-hmm.
  307. 1:03:14 Mm.
  308. 1:03:16 Mm-hmm.
  309. 1:03:25 Hmm.
  310. 1:03:26 Hmm.
  311. 1:03:28 Mm.
  312. 1:03:30 Hmm.
  313. 1:03:31 Mm. Mm.
  314. 1:03:33 Hmm.
  315. 1:03:36 Hmm.
  316. 1:03:38 Amen.
  317. 1:03:39 Mm.
  318. 1:03:40 Mm-hmm.
  319. 1:03:45 Mm-hmm.
  320. 1:03:47 Hmm.
  321. 1:03:50 Mm-hmm.
  322. 1:03:52 Mm-hmm.
  323. 1:03:53 Mm-hmm.
  324. 1:04:37 I'm going to go.
  325. 1:05:07 They ain't got a couple of them!
  326. 1:05:17 Come on.
  327. 1:05:21 Go on.
  328. 1:05:22 Johnny! Come on.
  329. 1:05:28 What are they going to do to you?
  330. 1:05:31 What are they going to do to you?
  331. 1:05:35 I missed this thing, Johnny.
  332. 1:05:37 They give me...
  333. 1:05:39 Oh, you haven't seen it.
  334. 1:05:41 I loved you and you loved me. That's all there is to it.
  335. 1:05:45 But I have moved on quite, ma'am Johnny. That's not true.
  336. 1:05:49 Oh, I can't go unless...
  337. 1:05:53 I asked him, John.
  338. 1:05:55 I'm happy you've sealed me away and we live together.
  339. 1:05:58 I'm happy you teach me kids. I'm happy you hold me.
  340. 1:06:02 They're happy for everything.
  341. 1:06:05 There's a safe place that ever comes.
  342. 1:06:09 I thought I just had a yin for you. I thought this was only going to be a lock.
  343. 1:06:14 Oh, but I love you, Luana.
  344. 1:06:16 I love you more than I've ever loved anyone.
  345. 1:06:18 More than I ever could love anyone.
  346. 1:06:20 I can't get it very much.
  347. 1:06:50 Oh, my God. Oh, my God. No, I'm not going to die. What's the name?
  348. 1:07:03 What is it? What's the matter, Luana? What did he say?
  349. 1:07:07 Prince, now you come to me? Alejandro, what can occur to you?
  350. 1:07:18 Please stay.
  351. 1:07:20 You died.
  352. 1:07:21 Two.
  353. 1:07:24 Well, that's all right. That's sort of as it should be. No, that's wrong. I see you.
  354. 1:07:32 Then he got...
  355. 1:07:33 You ain't that me?
  356. 1:07:35 No, Perry's no god, Luana. He's only a hole in the ground. There's only one god, Luana.
  357. 1:07:41 Oh, God help it. Get her out of her.
  358. 1:07:45 It's silly. It's a fire. Ah, Father. Which fire is heaven? How long is it? Thy kingdom come.
  359. 1:07:57 I will be done. On earth.
  360. 1:08:00 As it is in heaven.
  361. 1:08:30 They're coming for us. I've got to kiss you, Luana. Try. Keep it with reach. Reach.
  362. 1:09:00 I'm out.
  363. 1:09:30 Let her alone!
  364. 1:10:22 Don't give any more, Schiffer.
  365. 1:10:24 Wait and see what happens.
  366. 1:10:27 Right.
  367. 1:10:36 Away!
  368. 1:11:08 Oh, boy, I'd like this racket.
  369. 1:11:29 Oh, okay.
  370. 1:11:31 That'll fix you up, young fellow. Don't you move that arm.
  371. 1:11:36 That hole they put into.
  372. 1:11:39 Why, hello, Luana.
  373. 1:11:42 Johnny...
  374. 1:11:43 Doctor.
  375. 1:11:44 No, no, no. There's nothing to worry about.
  376. 1:11:48 And a day or two, you'll be just as good as new.
  377. 1:11:52 I don't know.
  378. 1:11:56 No, Sally?
  379. 1:11:59 Johnny Wells?
  380. 1:12:00 One, two, three.
  381. 1:12:03 Understand?
  382. 1:12:11 Come here, come here.
  383. 1:12:13 Come on now.
  384. 1:12:14 There's nothing to be afraid of.
  385. 1:12:16 Come on.
  386. 1:12:18 You come up on deck with me.
  387. 1:12:20 Johnny, all right. Come on out.
  388. 1:12:24 No.
  389. 1:12:37 I'm going to go.
  390. 1:12:43 Yes!
  391. 1:12:51 How is he, Max? He'll see Rick, but he'll pull out all right.
  392. 1:12:57 Well, fellas, what's the verdict?
  393. 1:13:01 Does she go with us or does she stay here?
  394. 1:13:04 I still contend that she won't stand plan planning. You know, you take a girl who...
  395. 1:13:11 I can tell the superstition all I...
  396. 1:13:13 can't suddenly...
  397. 1:13:14 - Adapter to our weight. - Oh, if I have a mistake, you've talked like some old Aunt Emma. This is 1932. The small girl and I like her. That ship we've done with a lot of hooey. You're wrong, sister.
  398. 1:13:25 That boy's whole life is wrapped up in his family.
  399. 1:13:28 As he came home with a native wife, it would break his mother's heart.
  400. 1:13:32 East is east and west is west.
  401. 1:13:39 As never the twain told me.
  402. 1:13:42 Max.
  403. 1:13:43 What's the dope on the north and south?
  404. 1:13:45 God.
  405. 1:13:51 I'm sorry. You're not likely to take me away from you. You're mad. You are doomed, I do.
  406. 1:14:01 But I'm not left in.
  407. 1:14:06 I've got to tell it.
  408. 1:14:08 before you
  409. 1:14:10 Everything was right for me.
  410. 1:14:14 Water.
  411. 1:14:16 No. Yes, darling.
  412. 1:14:18 Water.
  413. 1:14:19 Yes.
  414. 1:14:20 Rock!
  415. 1:15:21 What does he want? Something about Luana.
  416. 1:15:23 Find out what he wants. Yes.
  417. 1:15:26 It's the old chief, the girl's father. They've come for her. Well, you tell him he can't have her. We're taking her back with us.
  418. 1:15:45 He says that the volcano curse has been put on Johnny. And unless the girl returns with them,
  419. 1:15:59 Let me get the light. Hurry up.
  420. 1:16:02 Are you for the stage of the road?
  421. 1:16:16 Mm-hmm.
  422. 1:16:18 My father's my idol.
  423. 1:16:28 Now, Kaka, okay, I can't. I stay beside.
  424. 1:16:40 Mm-hmm.
  425. 1:16:41 Mmm.
  426. 1:16:42 Mm-hmm.
  427. 1:16:44 Mm-hmm.
  428. 1:16:50 Come on.
  429. 1:17:01 I'm going to go.
  430. 1:17:06 Come on.
  431. 1:18:41 Go, Luanna. We take you with us.
  432. 1:18:48 Go, Luanna.
  433. 1:18:49 Come on.
  434. 1:18:50 Amen.
  435. 1:18:51 Mm-hmm.
  436. 1:19:16 Mm-hmm.
  437. 1:19:17 Mac, if I had that much courage, I'd... Get the left to get out of here.
  438. 1:19:47 Oh, my God.

Also from 1932

White Zombie 1932The Most Dangerous Game 1932Mr. Robinson Crusoe 1932

Every free film of 1932 with a copy

Also from RKO Radio Pictures, Inc

Meet John Doe 1941The Most Dangerous Game 1932Love Affair 1939The Hitch-Hiker 1953

Similar frames

Mr. Robinson Crusoe 1932Tarzan's Revenge 1938Bronenosets Potyomkin (Battleship Potemkin) 1925

By the average clip vector of the keyframes; a measurement, not a judgement